[Clayart] robert, neriage
melpots at mail.com
Mon Sep 13 16:24:53 UTC 2021
Yes, you are correct. He had a very specific technique
of using a sea weed sort of glue (out of my realm) to
coat the two or more pieces of white and brown clay
that kept the two colors from mixing like mud when thrown. it was
a very defined line in the cork screw pattern.
As we all know, design patents are more about ego,
look what i did, than it is about keeping folks
from trying and using the idea.
It is a good time to mention that all glazes were made at
the `Kyoto Ceramic Resarch` facility. We did not mess with that.
Hamada and Kawai both worked at that facility as young men.
Most all potters, designers paid a yearly fee to get that service.
The designers came up with a glaze idea, color and surface, tests where
made and tried in their kiln.
Uchida wanted elephant tusk white, ivory. He must have had twenty recipes
tried and hundreds of tests. He got what he wanted a year after i left kyoto.
Those recipes were kept secret. cone 10, all electric kilns in Kyoto.
Glazes came to us in 35 gallon plastic containers. Not a drop of any other
glaze ever touched the white glaze. Our glazer Mr. Tanaby was like a caged
dog looking after the pure white glazes. "Melsan, be careful, be careful."
"yah, i know...geeeez"
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